Courses in Afroamerican and African Studies (Division 311)

Introductory Composition prepares students for the various kinds of academic writing required of them as undergraduates in LS&A. Students can expect to write six or more formal papers, as well as numerous informal exercises or impromptu essays.

Section 014, 024, 041: Permission of Comprehensive Studies Program (CSP). These CSP sections are designed for students who want to be certain that they are highly prepared for writing assignments of all kinds and are willing to devote the effort necessary to do so. These sections will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.

167. Introductory Composition, Shakespeare. ECB writing assessment. (4). (Introductory Composition).

Because this course satisfies the introductory composition requirement, writing is the main work of the course. There will be short assignments, five or six more formal papers, a final examination, and perhaps a midterm. Five or six of Shakespeare's plays are what you write about, the topics arising from discussion of the plays. The plays will be Henry IV, part 1, Hamlet, Othello, The Tempest, and one or two others. (Lenaghan) only after the Introductory Composition requirement has been completed.

223. Creative Writing. English 125 or 167 or equivalent. (3). (Excl).

All sections of 223 teach the writing of fiction (including personal narrative), drama, poetry, techniques of characterization, dialogue, and plot. Different sections will emphasize the individual areas to varying degrees. Classwork involves the discussion of the process of writing and the fiction of a few published authors. Students will do exercises meant to develop a sensitivity to language and a facility with evocative detail, voice, form and so forth. Most classroom time, however, is devoted to reading and discussion of student writing. A final portfolio of revised finished work of 35-50 manuscript pages is required.

Section 002. Course description available after March 26 in 444 Mason Hall.

Section 003 – Poetry, Fiction and Drama. Course description available in August from the department office, 7607 Haven Hall.

Section 004. Course description available after March 26 in 444 Mason Hall.

Section 005 – Fiction. This section is for those who wish to write from experience and imagination. Students will be encouraged to experiment and take risks in their writing as well as to practice fundamentals. No special background is required for this course, which is a beginning course in fiction writing. The process of writing will be examined through reading and discussion, and much of the classwork will focus on student writing. Evaluation will take into account improvement in writing, amount of work turned in, and participation. There will be no exam. We will work with Elbow's Writing Without Teachers, and with one or two fiction anthologies. Our main business, however, will be to write. (Holinger)

Section 006. Course description available after March 26 in 444 Mason Hall.

Section 007 – Poetry and Fiction. Each student will be asked to write a full-length short story and fifty or sixty lines of poetry in traditional forms and will then be encouraged to specialize either in fiction or verse for the rest of the term. A specialization in poetry will be allowed only if the instructor is convinced you have talent. A thousand words per week of fiction, twenty-five lines of verse is the minimum quantity. No text, no exams. A largely unstructured course: if you need the support of regular assignments, exercises, etc., choose another section. You must come up with the ideas. The instructor will not play Muse. (Creeth)

Section 008. Course description available after March 26 in 444 Mason Hall.

Section 009. Course description available after March 26 in 444 Mason Hall.

Section 010. Course description available after March 26 in 444 Mason Hall.

Section 011 – Fiction. See description for Section 005 above. (Holinger)

Section 012. Course description available after March 26 in 444 Mason Hall.

225. Argumentative Writing. English 125 or 167 or equivalent. (4). (HU).

This course will explore ways of making the style and logic of your writing more effective as you explain or argue. The questions of connotative language and slanting, understatement, surprise, selection of evidence, tonal and organizational variation, and logical fallacies will be considered - in the context of writing to a specific audience for a specific purpose. Class will probably be run on a discussion-workshop basis, with students meeting often in small groups to share drafts of papers or to examine writing examples from periodicals and/or from a textbook of collected essays.

Sections 003-008, 010, 012, 013, and 016-019. Course descriptions available after March 26 in 444 Mason Hall.

Section 009. Our aim will be to find a personal voice in our writing, so that our argumentative or persuasive prose will have the stamp of individuality about it instead of sounding machine-produced. We will be our own audience, and will read and comment upon one another's written work – not some of it but all of it. Hence, both regular writing and regular attendance are mandatory. There are no textbooks; there will be no exam. Writing – and talking intelligently about our writing – will be our only activity. (Ingram)

Section 011 – Permission of Comprehensive Studies Program (CSP). This CSP section is designed for students who want to be certain that they develop a thorough understanding of argumentation and logical fallacies and are willing to devote the effort necessary to do so. The section will highlight reading materials devoted to minority cultures and experiences and include periodic peer group editing sessions of student compositions.

230. Introduction to Short Story and Novel. (3). (HU).

For sections 001, 005, 007, 008 and 010 of English 230, course descriptions available in 444 Mason after March 26, 1984.

Section 002. Course description available in August from 7607 Haven Hall.

Section 003. Mr. Micawber says that he reads David Copperfield's novels "with delight, with entertainment, with instruction." We will attempt to do the same thing as we read seven great novels – including David's autobiography – and a volume of short stories. Our aim will be to learn to read fiction critically and intelligently. We will concern ourselves with such things as the novelist's understanding of the world around him, and how he deals with it; the role of the artist in society; selfishness and selflessness; and the meaning of happiness. Our reading list will be made up of eight of the following books: Dostoievski's Crime and Punishment, Solzhenitsyn's One Day in the Life of Ivan Denisovich, Hardy's Tess of the D'Urbervilles, Emily Brontë's Wuthering Heights, Jane Austen's Emma, James Joyce's Dubliners, Ralph Ellison's Invisible Man, Evelyn Waugh's Decline and Fall, and Charles Dickens' David Copperfield. Three papers, daily scribbles, group reports on Decline and Fall, and a final exam. Optional free discussion meetings at my home each Wednesday evening. (Hornback)

Section 004. This will be a course in the appreciation of fiction, with emphasis heavily on the novel. There will be little lecturing, much discussion, the teacher trying to define only areas for discussion: story-line, character, theme or meaning, the personality projected by the author, his world view. There will be daily 10-minute quizzes on the day's assignment, and course grade will rest mainly on them, so that students know where they stand all the time and face no existential moments. Midterm and final will serve only to compensate for weak or missed quizzes. There will be opportunity for those who wish to try imitating our authors in short fictions of their own. Flaubert, Madame Bovary; Dickens, Great Expectations; Dostoevsky, Crime and Punishment; James, The American; Faulkner, The Sound and the Fury. (Creeth)

Section 006. We will be reading a variety of kinds of fiction and grappling with very diverse perspectives on and ways of shaping the human experience. We will test with each other our individual reactions to form and ideas, thus learning together to read and to talk about our reading with increased sensitivity. We will try to understand what importance and use fiction has, if any, in a difficult world. We will read stories by Doris Lessing and several other authors, Achebe's Things Fall Apart, Sembene's "The Promised Land" (and see the film, Black Girl, based on it), Coetzee's Waiting for the Barbarians, Morrison's The Bluest Eye, Kafka's The Trial, Silko's Ceremony, Faulkner's As I Lay Dying, and a couple more novels. Emphasis will be on discussion, both large and small group. The nature and timing of papers and exams will be decided together by the class and the teacher. There will be opportunities for group projects and creative projects. (Alexander)

Section 009. An introduction to the basic elements of prose fiction, such as plot, character, structure, and imagery, through a method of close reading and analysis of a wide variety of 19th and 20th century short stories and novels, primarily English and American. We shall begin with short stories and move through longer and more complex examples to novels. Among the writers considered will be Henry James, Joyce, Conrad, D.H. Lawrence, Hemingway, Faulkner, Fitzgerald, Flannery O'Connor, and selected contemporary writers. Classes will be primarily discussion sessions. There will be a sequence of short analytical papers, an hour test, and a final exam. (Coles)

240. Introduction to Poetry. Prerequisite for concentrators in the Regular Program and in Honors. (3). (HU).
Section 001. We shall study the traditional and modern forms of English and American poetry, with special attention to the close reading of great examples of the principal forms. We shall proceed chiefly by discussion, supported by short papers, quizzes, a midterm, and a final exam. A major object of the course is to bring students to the point of being able to read and appreciate poems written from points of view and with purposes not immediately obvious or even sympathetic to an unskilled modern reader. English 240 is a prerequisite for English concentrators but it is open to all University undergraduates. (Cloyd)

Section 002. This course is for anyone who wants to learn to read poetry with understanding and enjoyment. We will read widely in lyric poetry, English and American, from the Renaissance to the present. One of the aims of the course will be to help students to develop the critical skills necessary to read any kind of poetry well, another to encourage some awareness of how poetry written in English has evolved and of how poetic aims and possibilities have varied in different historical periods. We will look at how some basic poetic forms (ballad, sonnet, ode) have been adapted to serve various purposes. While the organization of the course will not be strictly chronological, we will look at a succession of major poets from different periods in some depth, ending with a more intensive study of one modern poet. The work of the course will consist of exercises, several short papers, a midterm, and a final exam. The basic text will be The Norton Anthology of Poetry (3rd edition). (Knott)

Section 003. This is a course in the close reading of poetry. We shall read English and American poems in the Norton Anthology of Poetry and study them from two principal points of view. One will be the relationship between content and form, the other that between the poem as a timeless work of art and as a product of an author in a particular poetic tradition and historical situation. Though the poems (from the Renaissance to the present time) will not necessarily be read in chronological order, an idea of the development of English poetry should emerge. Towards the end we may concentrate on the work of one particular poet. Paul Fussell's Poetic Meter and Poetic Form will be studied in addition. Form: discussion, individual and group presentations. Requirements: active participation, several brief papers and a final exam. (Fischer)

Section 004. The aim of this course is simple. It is designed to provide an introduction to the reading, understanding, and appreciation of poetry. Achieving that aim is not always so simple however, and much of our work in this term shall be devoted to cultivating a critical vocabulary which will enable us to respond intelligently to as many different forms of poetry as possible. Since our approach will be through close readings of particular poems, no chronological order will be followed. Instead, I will be grouping poems of various periods on the basis of formal and thematic affinities (for example, sonnets, love poetry, the elegy, etc.). Assignments include several short papers and occasional exercises. Primary text: Norton Anthology of Poetry. (Larson)

Section 005. We will read together poems that please me and are likely to please you. We will read poems of the fifteenth through the twentieth century, we will read them slowly, and we will try to discover both what and how they mean. As we read, we will pause longest in the poetry of John Donne, Emily Dickinson, and Dylan Thomas. The sole requirement for this course is that you take much pleasure in the English language. (Fader)

Section 006. The aim here will be to enhance students' enjoyment of poetry through an understanding of its nature and how it achieves its particular effects. What is poetic language, for example, what is the function of meter – how does it interplay with the natural rhythms of speech? What is the nature and meaning of metaphor and of other kinds of figurative language? How does a poem mean one thing by saying another (irony)? The emphasis will be on informed, close reading of poetry from different periods of English and American literature. To encourage a feeling for the oral nature of poetry, students will occasionally be asked to learn and say poems aloud. Several short papers and one long paper will be required, as well as a midterm and a final exam. Textbooks: An Introduction to Poetry, by X.J. Kennedy, (Little Brown, ISBN 0-316-488690, 4th ed. paperback, $9.95); Poems 1965-1975, by Seamus Heany, (FSG, ISBN 374-51652-910700, paperback). (Tillinghast)

Section 007. Course description available in August from 7607 Haven Hall.

Section 009. This course is a reading workshop, in which we will practice the kinds of reading which poetry invites. We will read a range of poems from different periods and consider different aspects of the poet's craft: the uses of meter to give rhythm to speech, rhyme and alliteration, metaphor and other forms of figurative language. We will also explore ways in which poets create individual voices for individual poems, as well as ways in which they control tone. The final weeks of the term will be devoted to the work of a single poet. Although this course is a prerequisite for the English major, non-majors are welcome and appreciated. Classes will be conducted as discussions, with brief lectures to provide background information. Requirements for the course include regular attendance and participation, three or four short papers, and regular brief assignments. (Garner)

Section 010. Questions of very different kinds can be asked about a poem (What does this word mean? Does line one rime with line four? Why does the poet talk funny?), and what is useful to ask about one poem may offer little help with another. We will try to develop both a versatile repertory of good questions and skill in choosing and answering the ones that will be fruitful with a given poem. The aim will be to experience the poem as it was intended, having refined that experience through close examination of its causes; to "read each work of wit," as Pope puts it, "With the same spirit that its author writ." The poems will be drawn from the last four centuries and will be of many kinds. We will work primarily through close reading and discussion of particular poems; from time to time we will try to view matters from the poet's perspective by composing short passages of verse of various types. There will be several short papers and exercises, a midterm, and a final exam. (English)

Section 011. This course is intended for anyone wishing to increase his or her enjoyment and understanding of poetry. Through a wide range of poems we will explore both the ways in which poems work and the ways we can understand and improve our responses to them. After an introduction to poetic analysis we will progress chronologically from Shakespeare to the present, emphasizing particularly the last two centuries and ending with in-depth study of one modern poet (W.B. Yeats). Class discussion and occasional informal lectures will focus primarily on close reading of individual texts, but students should also emerge from the course with some grasp of the historical development of English poetry. Frequent short papers, the last of which will serve as a final exam; no prerequisites. The text will be The Norton Anthology of Poetry, Third Edition. (Bornstein)

Section 012. An introductory course in the close reading of literary texts, English 240 is prerequisite to concentration in English. It can also be a good course for non-majors who want to know more about poetry. Proceeding by discussion, we plan to invite familiarity with the major manifestations of English and American lyric verse through the reading of a large number of poems as well as through the close study of a selected few. Toward the close of the course we will study the work of one of the major poets: Robert Frost, Emily Dickinson, or W.B. Yeats. There will be a number of written exercises, two papers, one hour exam and one final exam. (McNamara)

245/Res. College Hums. 280/Theatre 211. Introduction to Drama and Theatre. (4). (HU).

This course is an introduction to drama. It will look to the texts of about a dozen plays, from ancient Greece to modern Europe and America. We will want to study the basic things about how drama works, both as literature and as theatre. The lectures will set the plays and their appropriate theatres into their historical and intellectual traditions, and will explore the plays as works of literature. The sections will offer opportunities to discuss and work with the plays as scripts for performance. Active participation of students will be encouraged in the course. Also, two or three papers, one hour exam and one final examination will be written. (McNamara)

270. Introduction to American Literature. (3). (HU).
Section 002. An introduction to American literature, culture, and ideas through the close reading of major works of fiction, with particular emphasis upon the short story form. Novels by Twain, Hemingway, Fitzgerald (or Faulkner), and one current American writer. After positioning lectures to establish themes and directions, the instructor will encourage class participation through discussion. Dual purpose – to hold the mirror of American experience, reflected by significant image-makers (writers), up to ourselves; to learn how to use (and enjoy) literature as a tool for interpreting that experience. Midterm, final, and two short papers. (Eby)

Section 003. This course will help students cultivate an ability to creatively analyze literature in its social context. Through reading, contemplation, discussion, writing, and lectures, it is hoped that students will develop a consciousness, method, and point of view enabling them to approach literary problems with confidence, imagination, and scholarship. Our unifying theme – concerning the social implications of writing in the United States – is not meant to be employed reductively. The selection of readings will be made with an eye to varieties of form (from traditional to experimental). The works chosen range from those by writers identified with a political outlook on social problems, to several whose orientations are distinctly philosophical, moral, and psychological. The course will also give a special emphasis to writings by women, racial minorities, and authors interested in working-class life. Some of the likely readings: short stories and poems by Herman Melville; poetry by Emily Dickinson; Kate Chopin's The Awakening; Stephen Crane's Maggie: A Girl of the Streets; N. Scott Momaday's House Made of Dawn; Marge Piercy's Women on the Edge of Time; Saul Bellow's The Dean's December; Paule Marshall, Brown Girl, Brownstones; Richard Wright, Native Son; William Faulkner, Light in August. Requirements will include several papers, exams, and possibly participation in a group presentation. (Wald)

Section 004. We will consider in detail some of the works of five great American writers: Hawthorne, Whitman, James, Stevens and Faulkner. Class discussion will be vital. There will be two papers, a midterm, and a final examination. (Schulze)

Section 005. To introduce participants to both the rebellious and the aesthetic strains in American literature, the instructor will attempt to balance the reading list accordingly, working from the east coast to the west for ethnic or regional attitudes. Authors primary to the literary national experience (Thoreau, James, Wharton, Twain, Faulkner, Hemingway and so on) will naturally take precedence, but that leaves several weeks' sessions for the raucous, the bawdy, and the disaffected. The class format is primarily discussion; there will be several in-class writings, a major paper, and a final exam. (Depree)

Section 006. We concentrate on reading a limited number of works by four American writers, R.W. Emerson, Ernest Hemingway, Robert Frost and Eugene O'Neill. The course attempts to enlarge the student's human understanding through analysis of imaginative writing in four literary genres: expository essay, prose fiction, poetry and drama. Throughout the term, an important overall course objective is that the student formulate and justify his/her own judgments about these works and their impact on his/her life. Class attendance is essential, since class discussion of the reading is the principal vehicle for exploring the authors' writing. Each student will keep a journal, writing regularly in it so as to develop ideas, judgments and questions. Two essays will be written outside of class; and a two-hour essay-type final examination covering all the course material will conclude the term. (Heydon)

285. Introduction to Twentieth-Century Literature. (3). (HU).

We will consider how a variety of writers reflect and respond to the major historical, social, political, philosophical, and moral issues and preoccupations of this century. We will place equal emphasis on what these writers say and how they say it. Our purpose is to sharpen the insight and intelligence with which we read some of the probing "documents" of our time. Reading: some standard authors and works for such a course; some idiosyncratic selections. Leading candidates for the reading list (not all will appear): Kafka, Camus, Bellow, K. Mann, P. Roth, Malamud, D.M. Thomas, Nabokov, Durrenmatt, Grass, and several others, including a selection of modern poems. Some lecture; some discussion. Two papers and an essay final. (Bauland)

Primarily for Juniors and Seniors

302. Writing About Good Books. (4). (HU).

English 302 intends to assure that its students will graduate from this College knowing how to write lucid, persuasive, analytical, mature, articulate and maybe even illuminatingly graceful prose in their chosen disciplines. We will read six or seven books demonstrating varieties of good contemporary prose in several fields, which may include short fiction, a thriller, science, current issues, the mass media, language, memoir, sports, humor. Lectures will focus on the issues raised by our reading, with the emphasis on how these texts say what they say effectively. Each student will produce approximately 35 pages of writing (including revision). The papers should provide practice in writing and re-writing essays of different length and for different audiences. The writing will be subject oriented; our objective will be solid conception translated into sound execution. The reading and classes should be fun; the writing will (as it must) be hard work. A cadre of experts will assist the lecturer. The class, dealing with the broader issues, is large, but the writing instruction specific to student papers will be more personal: conferences and section meetings insure the individual writer's progress with his/her own work. No classroom examinations. Whether or not you can write good expository prose by the end of the course is your examination. English 302 fulfills the ECB upper-level writing requirement. Two one and one-half hour lectures and one hour of discussion per week. (Bauland)

305(405). Introduction to Modern English. Recommended for students preparing to teach English. (3). (HU).

English 305 surveys the grammar of contemporary English and explores some dimensions of language variety including differences in gender role, geography, social class, and ethnic background. Since the course is a requirement for prospective high school teachers, we discuss some of the ways in which language is treated in the classroom, though we do so in light of other institutions that influence the shape of our English: the media, advertising, and popular culture. Students who are curious about how American English works are especially invited to enroll. A midterm, a final exam, and several quizzes provide the basis for grading, supplemented by "language diaries" and a short field research project. (Bailey)

309(409). American English. (3). (HU).

We shall begin the course by discussing what there is about American English worth serious study. This will entail, initially, indicating how distinct our spoken idiom is from British English past and present, what is and what is not "colonial" about how we speak, and what impact socio-political history has had on our speech. We shall then turn to the lexicon and its peculiar flexibility and inventiveness, to dialects and regionalisms, to the idiom of social and ethnic groups, and to popular and academic conceptions about our language. We shall learn, where necessary, how to describe our pronunciations by the use of symbols, how lexemes are caught and recorded, and where the course materials of the topics to be treated may be found. There will be several exercises (as in the use of phonetic symbols, for example, and in the use of lexical sources). There will be many handouts (perhaps a course pack or two), a midterm and a final. I shall have as many outside speakers as I can – on BEV, on creoles, on Hispanicized American English, on Canadian English. There will be probably only two required texts – both paperbacks. Open to any student curious about how we speak and write. (Sands)

315/Women's Studies 315. Women and Literature. (3). (HU). May be repeated for a total of 6 credits.

What is "feminism?" What is "criticism?" We will attempt to answer these and other questions raised by women's writing and by writing about women. Topics to be investigated include: romance (the one great "female" adventure?); women as objects; women as subjects (authors and readers); differences between American, British, and French feminism; feminist fiction as radical critical and social practice; the functions of race and class in women's literary production and reception. Readings will include: Shakespeare's Romeo and Juliet, Defoe's Moll Flanders, "Gothics," Jane Austen's Northanger Abbey , Virginia Woolf's Orlando, Alice Walker's The Color Purple, Angela Carter's Heroes and Villains, Monique Wittig's Les Guerilleres, and work by Gayatri Chakravorty Spivak, Juliet Mitchell, Sheila Rowbotham, Helene Cixous, Sandra Gilbert and Susan Gubar, and others. Classes will combine brief lectures (to introduce topics and contexts) with active discussion. Students will keep a journal to be handed in several times during the course and write two essays. (Landry)

318. Literary Types. (3). (HU). May be repeated for credit.
Section 001 – Jewish American Literature. In what sense can we say that a distinctly Jewish-American literature exists? What are the images of both Jews and America in this literature? What thematic concerns are central to it? Why and how are such images and themes expressed? In this course, we will attempt to answer these and other questions by considering some of the poetry, short stories, and novels written in both Yiddish and English by twentieth century Jews in America. (All works will, of course, be read in English.) We will read works by Henry Roth, Anzia Yezierska, Saul Bellow, Bernard Malamud, Philip Roth, Cynthia Ozick, I.B. Singer, Delmore Schwartz, and others. Two papers and a final exam are required. (Norich)

Section 002 – Novels of Initiation. We will read nine novels which focus on different stages as the young person moves through crucial experiences on the path from childhood through adolescence toward adulthood. They involve the impact of love and death, the growing awareness of good and evil, and the movement toward the formation of the adult personality. The study of each book will begin with an introductory lecture followed by the use of the discussion method. The work will probably include two tests, a term paper, and a final examination. We will probably read Twain's Adventures of Huckleberry Finn, Faulkner's The Reivers, Lee's To Kill a Mockingbird, and Salinger's The Catcher in the Rye, among others. (Blotner)

Section 003 – Tragedy. My course in the Fall will be concerned with the genre of tragedy. We will read plays by Aeschylus, Sophocles, Euripedes, Shakespeare and, perhaps, more recent playwrights. We will also look at some of the major theorists of tragic drama – Plato, Aristotle, Hegel, Nietzsche, Heidegger, Freud and others. Classes will proceed by lecture and discussion. There will be a final and a long paper. (Goodhart)

319. Literature and Social Change. (3). (HU). May be repeated for credit.
Section 001 – Literature of Oppressed Minorities: Black, Chicano, Asian American, Native American Indian, and Puerto Rican. This course will concentrate primarily on 20th century literature expressing the unique cultures and life experiences of a number of oppressed racial minorities in the U.S. While there are some features common to all minority groups that suffer discrimination within our larger culture, the diversity of responses through literary forms will also be emphasized. In considering the literature of each minority, we will attempt to include writers who hold different points of view and employ different literary techniques. There is an implicit interdisciplinary thrust to this course, and history, sociology, and political theory will be especially important in uniting with literary criticism as useful analytical tools. Requirements will include several papers, exams, and participation in a group presentation. The reading will probably include many of the following: Frederick Douglass, Narrative of the Life; Jean Toomer, Cane; Richard Wright, Black Boy, Ralph Ellison, Invisible Man; Alice Walker, The Color Purple; Maxine Hong Kingston, Woman Warrior; Rudolfo Anaya, Bless Me, Ultima; Corky Gonzales, I am Joaquin; James Welch, The Death of Jim Loney; John Neihardt, Black El Speaks; Piri Thomas, Down These Mean Streets. There will be both lectures and discussion. (Wald)

320/CAAS 338. Literature in Afro-American Culture. (3). (HU).

See Afroamerican and African Studies 338.

323 Creative Writing. Junior standing and written permission of instructor. (3). (HU). May be elected for credit more than once with permission of the undergraduate chairman.
Section 001. Creative writing: a course in mixed-media composition, especially combinations of poetry, short drama, short fiction, graphic art, painting, music, dance, photography. Prerequisites: experience with one or more of these art forms and interest in exploring their relations with other forms. (Wright)

Section 002 – Fiction. This is an intermediate workshop for students with experience writing fiction. Your main task will be to write. In class we will discuss writing by class members and writing found in contemporary periodicals. No exams; no textbook. You will incur some copying costs. Evaluation will take into account participation, as well as quantity, quality, and improvement of writing. For admission, please submit a sample of your writing to the instructor at 2623 Haven Hall. (Holinger)

325. Intermediate Exposition. (4). (HU).

For sections 002, 003, 004, 005, and 008 of English 325, course descriptions will be available in 444 Mason Hall after March 26, 1984.

Section 001. This class will explore different types of narrative, argumentative, and expository writing. We will experiment with several kinds of composition: fable, anecdote, refutation, confirmation, moral argument, encomium, invective, comparison, description, narrative, and dialogue. Within basic formal guidelines, students may chose their own topics. (Shuger)

Section 013. Reserved for Professional Semester participants. See description at the beginning of the English Department listings. (Howes)

355. Core I (Great English Books). (4). (HU).
Section 001. This section will highlight some of the great poetic works of English literature though the seventeenth century: the Old English Beowulf (in translation), Chaucer's Canterbury Tales (selections), Sir Gawain and the Green Knight, Spenser's Faerie Queen (selections), and Milton's Paradise Lost. We will also read sonnets and other short lyrics by Shakespeare, Donne and Milton, and at least one Elizabeth play. The focus will be on the enjoyment and appreciation of poetry, but we will spend much class time interpreting these often difficult works. Their themes are not so different from ours (love, death, morality, truth, folly, man and God); but their cultural presuppositions are very different, and will necessitate some lecturing. Requirements: three short papers, memorization of a passage from Chaucer, and a final exam. (Smith)

Section 002. This course is the first of the required Core sequence for English majors, although it is open to all LS&A upperclass students. It covers, in one way or another, the continuum of English literature from Old English times to the completion of Paradise Lost. Much is read and much is slighted. Old English coverage will see us doing the lyrics in translation, overlooking as we do so the complexities of Beowulf. We will come down rather heavy on Chaucer and Sir Gawain (the latter in translation) and talk about but generally ignore Piers. The third quarter of the term will see us concentrating emphatically on the lyric and on drama. (There will be several prosodic exercises on both Chaucerian and Elizabethan verse.) We shall end up with close readings of carefully selected segments of Paradise Lost. The course is considered to be also a writing course and for this aspect of it, we shall have the aid of a competent course assistant provided us by the ECB Board. He/she will hold numerous conferences with individual students and may aid in correction - may even give a lecture or two. There will be two essays, two or three prosodic exercises, a formidable midterm and a final – the latter, one of the take-home variety. (Sands)

Section 003. This course will consider the development of English literature from the Middle Ages through Milton. We shall examine the great works of this period in all genres, with particular emphasis on non-dramatic poetry. The readings will include Sir Gawain and the Green Knight, Pearl, The Canterbury Tales (selections), a play by Marlowe and Jonson, The Faerie Queene (selections), short poems by Sidney, Spenser, Raleigh, Greville, Donne, and Herbert, and Paradise Lost (selections). Class time will be divided between lecture and discussion. Required: three short papers and midterm and final examinations. Text: The Norton Anthology of English Literature (4th edition) ed. Abrams, et al. (Shuger)

Section 004. Course description available in August from 7607 Haven Hall.

Section 006. Works written in the Middle Ages and the Renaissance will appear foreign to a modern audience, not only because the language causes difficulties, but because they were written in a world substantially different from ours. At the same time the really great books have qualities that appeal directly to the modern reader. It will be the aim of this course to work out the historical contexts and significance of these works as well as their possible meaning for a modern audience. Works will include: (1) the Old English Beowulf and some other Old English and early Middle English poems in translation, (2) the major works of the fourteenth century (Sir Gawain and the Green Knight, Langland's Piers Plowman and Chaucer's Canterbury Tales ); and (3) poetry of the Renaissance period (Sidney, Spenser, Donne, Marvell, Shakespeare and Milton's Paradise Lost ). If time permits specimens from Medieval and Elizabethan drama will also be discussed. Form: lectures, discussions and student reports. Requirements: several brief papers and a final exam. (Fischer)

Section 007. A selection of works from the late Middle Ages through the Renaissance, e.g., Chaucer's Canterbury Tales, "The Second Shepherds' Play," Everyman, Sir Gawain and the Green Knight, Spenser's Faerie Queene, Marlowe's Dr. Faustus, poems by John Donne and George Herbert, Jonson's Volpone, Webster's Duchess of Malfi, Milton's Paradise Lost. Mostly discussion, occasional lecturing. Three papers, a variety of short written exercises, modest attempts at staging one or two of the plays. A midterm exam; a final exam. (English)

356. Core II (Great English and American Books). (4). (HU).
Section 001. This course, the second in the series designed for English concentrators but open to other students as well, examines major works and traditions in English and American literature from 1660 to 1850. The texts we will read can be grouped, very roughly, in four categories: Restoration drama and neo-classical poetry and prose (Wycherley, Swift or Johnson, and Pope), the rise of the novel (Fielding, Austen), English Romantic poetry (primarily Blake, Wordsworth, Keats) and nineteenth century American literature (Hawthorne, Melville). In discussing these texts we will ask, among other things, how they imagine the world, man's – and woman's – place in it, and the relation of literature to that world. The class will be primarily discussion, with some lectures usually directed to placing works in their historical and intellectual context. Evaluation will be based on frequent brief writing assignments, one short analytical paper or perhaps a take-home midterm, and a term paper. (Howard)

Section 002. The course, the second of a three part sequence required of English concentrators, will attempt to combine close reading of major works with attention to the major cultural developments between the late 17th and mid-19th centuries. We will read the poetry of Dryden, Pope, Wordsworth and Keats, Swift's Gulliver's Travels, Fielding's Tom Jones, Austen's Emma and Melville's Moby Dick. There will be two papers, a midterm and a final examination. (Schulze)

Section 003. Although the scope of this course dictates a small section of representative works rather than a full scale survey, we shall try to understand some of the important religious, political, esthetic, and literary differences between the three periods we study: England in the later 17th and early 18th century, England during the Romantic upheaval; America before the Civil War. In the first period, we shall consider selected works by Dryden, Pope, and Swift along with Dr. Johnson's lives of those poets. In the second, we shall begin with two transitional figures, Blake and Austen; then consider the theory of Romanticism announced by Wordsworth and Coleridge in the preface to the Lyrical Ballads in relation to their poetry and that of Keats' and Byron's. Finally, we shall consider how English styles and ideas from both periods underwent a different development in America, moving from brief selections from early American authors toward a fuller consideration of Hawthorne and Melville. Lectures will stress the cultural context in which this literature was written; class discussions will be exercises in close reading. Three 5-8 page papers, one on each period. A midterm hour test, and a two-hour final. (Winn)

Section 004. Course description available in August from 7607 Haven Hall.

Section 006. We will read "major" writers of the late seventeenth, the eighteenth, and the early nineteenth centuries. The course will attempt to combine close readings of texts with historical and cultural analysis. Questions to be addressed include: what makes a literary work "major" or canonical? Why are women's writing and popular or plebeian writing often considered "marginal?" What connections can be made between political and social history and literary modes and movements? In these works, how do race, sex, and class function as categories of analysis and control? What is "Augustanism?" What is "Romanticism"? How do American "frontier" literature and culture grow out of conflicting Enlightenment and Romantic politics and literary policies? Readings will include works by Dryden, Pope, Swift's Gulliver's Travels, Johnson's Rasselas, poetry by Blake, Wordsworth, Coleridge, Shelley, and prose by Emerson and Melville. There will be one two-page essay, two 5-6 page essays, an emphasis on active class discussion, and a final exam. (Landry)

357. Core III (Great English and American Books). (4). (HU).
Section 001. A survey of major British and American writers from 1830 to about 1930. The course concludes the departmental core sequence. We shall examine a number of the leading poets, novelists, and prose writers of the period with attention to the historical, cultural, and intellectual background of their work. Instruction will be by lecture with some discussion. Among writers considered will be Carlyle, Tennyson, Browning, Arnold, Hawthorne, Melville, Whitman, Henry James, Rossetti, Oscar Wilde, Dickens, George Eliot, Pater, Hardy, Yeats, T.S. Eliot, and Ezra Pound. There will be a sequence of short tests, papers, and a final exam. (Coles)

Section 002. Course description available in August from 7607 Haven Hall.

Section 003. Course description available in August from 7607 Haven Hall.

Section 004. Our readings for this course will take us from about the 1880's to 1970's – a century or so of enormous philosophical, cultural, political, and racial consequence. To be "American" and "British," to write "American" and "British" and, finally, to be "Great" involve considerations about the relationship between literature, artist, and a complex series of interactions. We will look at the Britain of Hardy, Conrad, Forster (of island and empire); at the America of Melville, Whitman, and Fitzgerald, and of Hong, Kingston, Walker, and Silko. Joyce, Eliot, and Yeats will add other dimensions to our consideration of the modernist temperament. There will be a final 10-15 page project; also one five-page paper, and individual reports on the texts and issues. These last will form the basis of class discussions. Lectures will be used to introduce and to summarize issues. (Johnson)

Section 005. This course will examine works by American and British writers from the Victorian period to the present. Texts by male and female authors will be read in pairs, chosen according to direct personal and/or literary influence, as representatives of a similar tradition or cultural context. Questions will be raised about the formation of a literary canon, the impact of history on literary production and the evolution of literary styles. Novels will include Brontë's Wuthering Heights and Hardy's Jude the Obscure; Jude the Obscure; Forster's Howard's End and Woolf's Between the Acts; Faulkner's Absolom, Absolom and Morrison's The Bluest Eye , in addition to Shaw's Mrs. Warren's Profession and Churchill's Top Girls, stories by James and Wharton and poetry by Tennyson and Christina Rossetti, Frost and Bishop. There will be three essays and a final exam. (Herrmann)

367. Shakespeare's Principal Plays. (3). (HU).
Section 001. This course is designed to introduce students to Shakespeare's major achievements in the drama. We shall read twelve plays, chosen to illustrate the range of Shakespeare's accomplishment and his work in various dramatic kinds – comedy, history, tragedy, and romance. Most class periods will be devoted to lecture, supplemented from time to time by class discussion, oral reports from students, and the presentation of selected scenes. The emphasis in all of this will be on Shakespeare as a writer for the theatre, though students will also be introduced to a variety of critical approaches to the plays that consider them chiefly as literary documents. Work for the course will include two short papers, a midterm, a brief quiz or two and perhaps an oral report, and a final examination. I have not yet settled on the plays for this term, but they will in all likelihood include Twelfth Night, King Lear, Antony and Cleopatra, Richard III, The Winter's Tale, Measure for Measure, and Othello. (Jensen)

Section 002. We will read slowly through six of Shakespeare's most interesting plays: Hamlet, Merchant of Venice, Othello, Macbeth, King Lear, and The Tempest. During our reading and discussion we will attempt to reconstruct enough of the era in which the plays were written to understand Shakespeare's accomplishment in the context of his time. Two papers, one at midterm and one at the end of the course. (Fader)

391. Honors Survey: Medieval English Literature. (3). (Excl).

This course offers you a chance to work closely with some of the finest literary works produced in England in the Middle Ages. The texts we will concentrate on (Beowulf, parts of the Canterbury Tales, Sir Gawain and the Green Knight, Pearl, Malory's Morte Darthure, Piers Plowman, and a selection of medieval plays) are splendid in themselves and illustrate various favored genres and modes such as epic, romance, dream-vision, allegory and typology. Students will examine not only the works themselves, but also the intellectual and cultural environment which shaped them. Requirements for the course are two papers, a final examination (and, possibly, a midterm) and active and informed participation in class. (McSparran)

392. Honors Survey: Renaissance English Literature. (3). (Excl).

The course aspires to an examination in depth of the foremost literary achievements of the late sixteenth and seventeenth centuries in England. Spenser will be studied first (Four Hymns, The Faerie Queene : Book I and the Mutability Cantos), followed by Marlowe (Dr. Faustus and Edward II), Shakespeare (Richard II, Henry IV : Parts 1 and 2, Henry V, Hamlet, The Tempest), Donne (Songs and Sonnets, Divine Poems), Herbert (The Temple), Marvell (select poems), and Milton (Comus, Paradise Lost in its entirety). The historical and intellectual background will be kept firmly in view, but the primary emphasis will be on the literature as literature. The standards of the course are very exacting, as befits an Honors course. Two essays and a final examination will be supplemented by discussion to which all students will be expected to participate without fail. (Students who have had my Core I will not be admitted). (Patrides)

411. Art of the Film. (3). (HU). May be repeated for credit.
Vietnam and the Artist. A study of efforts by artists, primarily filmmakers, to understand and, in some cases, to prevent recurrence of such events as the war in Vietnam. Films will include: In the Year of the Pig, Hearts and Minds, Ashes and Embers, The War at Home, Interviews With My Lai Veterans, Coming Home, The Deerhunter, Apocalypse Now, Breaker Morant, Jonah Who Will Be 25 in the Year 2000, The Passion of Anna, and films made by the South Vietnamese National Liberation Front. Writers will include Denise Levertov, Jonathan Kozol, Philip Caputo, David Rabe, and Susan George. This year we will, using films and readings, also make comparisons to the nuclear arms race and artist and citizen response to it, with some emphasis on civil disobedience. Much emphasis will be placed on discussion, both large and small group, and discussion and lecture will focus not only on the works, but also on their implications about personal attitudes and behavior and about social institutions. Final projects may be studies of individual artists, may be studies of large problems raised in the course, or may be relevant works of art or other forms of direct statement and communication about Vietnam and related issues. (Alexander)

417. Senior Seminar. Senior concentrator in English. (3). (Excl).

English 417 along with the Core courses meets the Junior-Senior writing requirements for English concentrators only. Please add the ECB modification for 417 at CRISP.

Section 001 – William Blake's Illuminated Books. In this seminar we will study William Blake's Illuminated Books together with some of his other writing and art work. The principal Illuminated Books will be facsimile editions of Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Book of Urizen, and, time permitting, Milton. I will provide copies of Urizen and Milton for course use along with other materials in course pack format. Written work for the seminar will include short reports, scripts, and a longer paper. English 417 should be elected by Senior English Concentrators only. (Wright)

Section 003 – Modern Women Writers. This course will examine a wide range of novels written by modern women writers, with a particular focus on the experimental narrative forms which emerged under the influence of Modernism, as well as those generated by cross-cultural experiences of gender. It will also address issues raised by feminist literary criticism and theory in both the Anglo-American and French traditions. The reading will include Collette's The Vagabond, Woolf's To the Lighthouse, Stein's Ida, Christa Wolf's The Quest for Christa T., H.D.'s Hermione and Wittig's The Lesbian Body. It will also examine the relationship between gender and race through Morrison's The Bluest Eye, Walker's The Color Purple, Kingston's The Woman Warrior and Cha's Dictee. There will be an oral presentation, two brief essays and a final paper. English 417 should be elected by Senior English Concentrators only. (Herrmann)

Section 004 – Satire. This section will focus on the critical and theoretical issues surrounding the design, methods, and purposes of satire. The first half of the course will be given over to a sampling of major works of satire and a survey of the major critical works dealing with the satiric (in the visual arts and film as well as in literature) and with the most prominent satirists. The second half of the course will be devoted to a study of specific works and writers chosen by the class. Requirements for the course include regular class attendance and participation in discussion, two or three oral reports, and a major paper (20-25 pp.). English 417 should be elected by Senior English Concentrators only. (Jensen)

Section 005 – Tragedy. Nietzsche' famous aphorism in The Gay Science pulls the rug out from under a certain tradition of philosophic and humanist thinking and this gesture has led to a frenzied activity in theoretical discussions throughout the humanities. In this course I would like to study some of the ways in which Greek tragedy already engages in full (and before the fact, as it were) this same nihilist critique of Platonism in which today we are so embroiled, an engagement which succeeding traditions of philosophical and literary critical thinking (as they emanate from Plato and Aristotle) have worked strenuously to subvert. I will try to show that this tragic engagement is a version of prophetic thinking and akin to the mode of thinking of the great religious texts of our culture. Readings: Plato and Aristotle on mimesis, Sophocles' Oedipus Tyrannus, Aeschylus' Agamemnon, Sophocles' Antigone, Euripides' Medea, and The Bacchae, Shakespeare's Hamlet, Beckett's Waiting for Godot, and Miller's Death of a Salesman in an attempt to assess the possibility of a persistence of this engagement in modern drama. We will also look at some of the major theorists of the tragic (Hegel, Nietzsche, Heidegger) as well as some of the classical critics (Knox, Vernant, Bradley) and some more recent theorists – Girard, Goldman, Foucault, among others. Lecture and discussion. There will be a paper and a series of brief quizzes. English 417 should be elected by Senior English Concentrators only. (Goodhart)

Section 006. Course description available in August from 7607 Haven Hall.

Section 007. Course description available in August from 7607 Haven Hall.

Section 008 – Narrative Theory. This course will study narrative theory by first examining a few short works of fiction and then relating to them ideas developed from reading some seminal works in the various schools of critical theory. The class itself will decide what works of fiction to read; but the instructor will determine the theoretical material. The class will read texts by writers in the "realistic" school of criticism, by Henry James and his followers, by the Russian Formalists, by structuralists and post-structuralists, and by reader-response critics. Students will develop their own critical and theoretical abilities by working throughout the term on a single paper of 15-20 pages. English 417 should be elected by Senior English Concentrators only. (Konigsberg)

Section 013. Reserved for Professional Semester participants. See description at the beginning of the English Department listings. (Howes)

423 The Writing of Fiction. Open to seniors and graduate students; written permission of the instructor is required. (3). (HU). May be repeated for credit with permission of the undergraduate chairman.

Course description will be available in August from 7607 Haven Hall. (Jones)

427. Playwriting. Permission of instructor. (3). (HU).

The craft of professional playwriting is taught through lectures on dramatic structure and basic outlining, the reading and analysis of plays, writing exercises, attendance at productions, and the writing of at least two one-act plays for the company of student actors attached to the class. A selection of the plays is performed for the public at the end of the term. Grades are based on attendance, level of participation, papers, and the mastery of basic playwriting craft as demonstrated in plays and criticism. Admission by permission of instructor. No writing samples will be requested. A sign-up sheet will be available outside of 2527A Haven Hall beginning on September 5th. Sign up for a 15 minute appointment to see Professor Stitt on September 7th. He will be seeing students beginning at 10 a.m. and throughout the day at the same location. Overrides will be available from Professor Stitt at the time of your interview. (Stitt)

429. The Writing of Poetry. Written permission of instructor is required. (3). (HU).

Course description available in August from 7607 Haven Hall.

431. The English Novel from Dickens to Conrad. (3). (HU).

We will read seven major Victorian novels: David Copperfield, Barchester Towers, Our Mutual Friend, Middlemarch, The Princess Casamassima, The Mayor of Casterbridge, and The Secret Agent. Our aim will be to enjoy these great works of fiction, to analyse the themes and values with which they are concerned, and to learn from them. We will pay particular attention to such themes as reform, social and personal responsibility, and the artist as social critic. In our work with these novels we will use all the tools of analysis that we can, in order to understand them and articulate our understanding. We will not, however, concern ourselves with critical theory; this is a literature course. Hard work (the reading load is about 4,000 pages), serious thinking, intelligent discussion are expected. There will be three papers, daily scribbles, and a final exam. Optional free discussion meetings will be held at my home on Tuesdays. (Hornback)

432. The American Novel. (3). (HU).

Must have elected Introductory Composition; intended primarily for juniors and seniors. A prerequisite for admission is the prior successful completion of at least two 200-, 300-, or 400-level English courses or the equivalent. This course is intended to reveal the growth of the American novel through a study of major works of some of its foremost artists: Hawthorne, Melville, Twain, Dreiser, Anderson, Hemingway, Fitzgerald, Faulkner, and Ellison. We will read The Scarlet Letter, Moby Dick, Huckleberry Finn, Sister Carrie, Winesburg, Ohio, The Sun Also Rises, The Great Gatsby, Light in August, and Invisible Man. One of the aims of the course will be to trace recurrent themes in the American experience as they are treated in fiction. The instructor will present background material on the author and the work to provide an additional basis for class discussion and analysis of the works and issues raised by them. There will be three one-hour tests and an optional term paper. (Blotner)

433. The Modern Novel. (3). (HU).

The class will study some of the major novels written in England, America, and on the continent during the past 100 years. We shall begin with Dostoevsky's The Brothers Karamazov and try to understand the major breakthrough that the author made in fiction and the impact he was to have on future novels and modern thought. The class will then examine the nightmare world of Kafka's The Trial and the psychic eroticism of Lawrence's Women in Love. We shall spend a number of weeks on Joyce's Ulysses, trying to understand the full dimension of the work and its relations both to the history of the novel and twentieth century civilization. Sartre's Nausea will lead us to problems concerning existence and action, and Faulkner's Absalom, Absalom! will force us to confront our own American dilemma, while allowing us to make a final assessment of the variability and possibilities of the modern novel. The course will proceed as a series of discussions between students and the instructor, except when brief lectures are necessary to clarify difficult points, give background information or simply prod conversation. Each student will be required to write two short papers as well as midterm and final examination. (Konigsberg)

434. The Contemporary Novel. (3). (HU).

A reading and discussion of fiction since 1945, probably including one novel each by writers such as Sartre, Camus, Beckett, Robbe-Grillet, Grass, Barth, Bellow, Heller, Iris Murdock, Doris Lessing, Angus Wilson, Fowles, Updike, Pynchon, and Mailer. Perhaps not all of these will be included - or students will have options. General method is the interruptible lecture, as well as discussion. Two papers, a midterm, and a final. (Gindin)

440. Modern Poetry. (3). (HU).

We shall read the work of selected British and American poets of the first half of the century: Hardy, Yeats, Frost, Stevens, Eliot, Pound, Williams, and others. Most of our attention will go to ten or twelve poets, and one poet's career will be studied in depth. The objective of the course is a sympathetic understanding and enjoyment of the individual poems, but we will also consider some of the ideas, events, and historical developments that helped to give modern poetry its distinct character. Lecture-discussion. Two short papers and one long paper; midterm and a final examination. (Goldstein)

442. History of Poetry. (3). (HU).

In this course we will read a substantial amount of poetry by most of the major makers of the short poem in English from the early Renaissance roughly to the present. Take the definition of the short poem as elastic, and as encompassing the four lines of 'O Western Wind' as well as longish poems like 'Lycidas,' 'The Rape of the Lock,' and 'Sunday Morning.' The aim of the course is pleasure, broadly construed. The informing principle is that poetry gives the highest pleasure. If you endorse this principle, you are a good candidate for the course. It might be useful were you to have had 240 or a comparable introduction. Anyway, you ought to show some conversance with poetry. The course will differ from 240 (as I teach it) in that progression will be chronological. By the end of the term you should have a pretty fair knowledge of lyric poetry in English from its beginnings. I will teach from the open book – no formal lectures – and will encourage and in fact insist on give and take between me and the class. We will use the five volume Auden-Pearson Poets of the English Language, and possibly the shorter Norton anthology for the modern period. There will be probably two short papers, a midterm and a final. The tests will be like the papers: essays in criticism. (Fraser)

443/Theatre 421. History of Theatre: I. (4). (HU).

This is primarily a course in the art of the theatre rather than a course in drama. A play as realized in the theatre represents the playwright's feelings and ideas given form through an actor in an environment enhanced by scenery, lighting, and costume designers under the creative eye of a director. Thus, the focus is not just on the play itself but also on the audience, the theatre architecture, the conventions of scenery and costuming, and approaches to acting. These aspects of theatre are all examined from the time of the Greeks to 1700 in an attempt to relate the plays to their theatrical environment. After ancient Greece, the class studies the theatres of Rome, the Middle Ages, Renaissance Italy, the Golden Age of Spain, Elizabethan and Restoration England, and 17th century France. The class notes the influence of previous ages and distinct characteristics of the new age. There are three one hour examinations, a final examination, and a research paper. (Bender)

447. Modern Drama. (3). (HU).

A course covering European drama between the final decades of the nineteenth century and the second World War. We will read plays by the following dramatists: Ibsen, Strindberg, Chekhov, Synge, Shaw, Pirandello, Brecht, and playwrights of the French avant-garde. We will explore a number of issues: the play of ideas; the impact on drama of different theories of the theatre and theories of acting; modes of addressing (or confronting) the audience; the tension between naturalism and more stylized modes such as the dream play, opera, and the play-within-a-play; dramatic responses to World War I and collapse of values; modern conceptions of the self and its masks. More broadly, our study will trace the development of new dramatic forms as these dramatists make unprecedented – and often impassioned – use of the stage to address social, psychological, and metaphysical questions. Lectures will be combined with the discussion; participation in the course will include a reading journal, one paper, and a final exam. (Garner)

465. Chaucer: The Canterbury Tales. (3). (HU).

We will read most of the Canterbury Tales and some of Chaucer's other work. Class time will be largely devoted to discussion of these texts, which will of course be read in Chaucer's Middle English. There will be a final examination at the scheduled time. Undergraduates will do two or three shorter papers and graduate students will write one longer paper. The Canterbury Tales are, among other things, a dramatic anthology of various literary types. So, as an anthology, they point rather precisely out from Chaucer into late medieval literature, and as drama they point to the social life of 14th century England. It will be an important effort in the course to keep these two contexts actively in mind, while we keep the poem in central focus. (Lenaghan)

471. Nineteenth-Century American Literature: Key Texts. (3). (HU).

This course will survey nineteenth century American fiction, non-fiction, and poetry, examining closely the individual texts as well as their relation to cultural and literary traditions at large. Readings will include Emerson's essays, Thoreau's Walden, stories by Poe and Hawthorne, Melville's Moby Dick, poetry by Whitman and Dickinson, and, lastly, The Education of Henry Adams. Requirements: attendance, one short essay, a longer term paper, and a final exam. (Larson)

472. Twentieth-Century American Literature: Key Texts. (3). (HU).

This course in American literature of the twentieth century will focus on significant technical developments in fiction and drama. The writers included are important, fascinating, and challenging. While their work is interesting in technique, what they have to say about the human condition is also well worth our careful attention. We will read eight novels: James' The Awkward Age, Anderson's Winesburg, Ohio, Hemingway's In Our Time, Faulkner's The Sound and the Fury, O'Connors' Wise Blood, Baldwin's Another Country, Laurence's The Diviners, and Wilder's Theophilus North; and two plays – O'Neill's Mourning Becomes Electra and Miller's Death of a Salesman. The conduct of the course will depend on introductory lectures and as much discussion as possible. There will be two or three short exercises and a more substantial term paper. There may be a final examination. (Powers)

478/CAAS 476. Contemporary Afroamerican Literature. (3). (HU).

See Afroamerican and African Studies 476. (G. Jones)

482. Studies in Individual Authors. (3). (HU). May be repeated for credit.
Section 001 – James Joyce and Joseph Conrad. James Joyce and Joseph Conrad will be viewed primarily as great pioneers of modernism in the novel. The class will examine the various ways in which their treatment of character and society, the form and style of their novels, and their major thematic preoccupations have contributed to the distinctive approaches of novelists in the modern age. Joyce and Conrad, along with Flaubert, Dostoevskii, and Henry James, provided the formal foundations as well as the ideological premises on which the modern novel has been created. A study of their work is, therefore, a valuable preparation for further studies in 20th century literature. Texts will include some of the major works of the two authors, including Conrad's Lord Jim and Joyce's Ulysses. Two papers will be required. (Aldridge)

Section 002 – George Orwell. Blotting out the current MediaGaggle debate over how conditions described in 1984 have – or have not - come true in WesternCiv, we will examine Orwell's work as literature rather than as PoliProphecy. This includes Burmese Days, Down and Out in London and Paris, Keep the Aspidistra Flying, Coming Up for Air, Road to Wigan Pier, Homage to Catalonia, Animal Farm, and his fine essays, political and literary. Our approach to 1984 will be by way of other utopia-dystopia writers – More, Bellamy, Huxley, and Zamyatin. Midterm, final papers. (Eby)

483. Great Works of Literature. (1). (HU). May be repeated for credit if different works are studied.
Section 002 – D.H. Lawrence. A study of some of the major works of D.H. Lawrence including some of his novels (Sons and Lovers, The Rainbow, Women in Love, Aaron's Rod – perhaps another, if time), some essays, and some poetry. One paper, no exams. (Gindin)

489/Educ. D 440 (School of Education). Teaching of English. Engl. 305 is prerequisite, and concurrent election of Educ. D 592 is required. (3). (HU).
Section 063. Reserved for Professional Semester participants. See description at beginning of English Department listings. (Howes)

493. Honors Survey: Nineteenth Century English Poetry. Admission to the English Honors Program. (3). (Excl).

We will study three successive generations of 19th century poets – first Coleridge and Wordsworth; then Keats, Shelley, and Byron; and finally Browning, Tennyson, and Arnold. We will read widely in the major poetry and related prose of those writers, but focus on a smaller number of works. Students should emerge with a deepened appreciation of individual poems and authors, and with a sense of the development of 19th century poetry and of the nature of poetic influence. Primarily for seniors in the Honors program; one short essay or midterm; a longer essay and a final exam. Texts will be David Perkins' English Romantic Writers and Buckley/Woods' Poetry of the Victorian Period. Lecture and discussion. (Ellison)

494. Honors Survey: Nineteenth Century English Fiction. Admission to the English Honors Program. (3). (Excl).

We will read a number of classic nineteenth century English novels, and consider them from various points of view – thematic, stylistic, literary, historical. But we will focus most of our attention on two questions central to the fiction of this period: what does it mean, for both writer and character, to be related to a community? and how does repression serve the interests of those who devote themselves to it? Novels by Charlotte Brontë, Dickens, George Eliot, Thackeray, Gissing, Hardy; and Richard Sennett's The Fall of Public Man. Two papers, final. (Kucich)

Environmental Studies Courses (Division 366)

The Environmental Studies Program is designed to complement a student's training in a particular discipline. It is not a concentration program although it is possible for a student to work out the equivalent of a major in environmental studies through the College's Individual Concentration Program. Interested students may contact Professor Stephen Kaplan, Director, 3418 Mason Hall (764-0426). The Environmental Studies Program currently consists of several environmental studies courses, providing three different levels of educational experience, plus a number of regular departmental courses cross-listed as Environmental Studies courses.